Jörgen Adolfsson-altsax, sopransax
Andreas Hedwall-trombone
Niklas Korssell-drums
Ibland också Gustav Nygren-tenorsax, guitar
Sounds Like
No School is alto and soprano player Jorgen Adolfsson, trombonist Andreas Hedwall and drummer Niklas Korssell. The set brings to mind one of my favorite improv recordings, The Forest and the Zoo (ESP) by Steve Lacy. What I mean to say is that the roles each player takes on and the structure of the music have resonances with that classic disk.
Korssell has the kind of rough-and-ready energy and brusquely trashy approach that Louis Moholo had on the Lacy disk. And the sax-bone interactions bear some affinity with Enrico Rava and Lacy's trumpet-soprano explorations.
That's not to say that there's some kind of conscious imitation going on. Rather there is a genealogy of sound structures in which both ensembles participate. No School is somehow a descendant of The Forest and the Zoo. They both partake of some essence in common.
Even if you do not know that Lacy disk, though, you might well find this recording quite pleasurable, like I did. That is, if you appreciate the playful, puckish side of free improv. These are three musically compatible players out to make interesting group sounds, not so much to express strong emotions. They are like what a souffle is to a dish of pasta. After you listen there's plenty of room for something else, I would think.
Though not extraordinarily heavy, their "course" should surely be memorable to you long after you have listened.
It was called free jazz many decades ago when this new branch from the “tree” of jazz music developed. It was developed in a contemporary context of liberation, political actions and protests against various colonial wars. It was a context quite different from today.
The word "free" was loaded with ideological and political content, hardly imaginable today. Subsequently “free” stand for something else now, than it used to do. Alas, Free Jazz, this non-idiomatic music movement became a platform without boundaries. You could make a long list of the visitors to Free Jazz and also a map of all the roads going to and fro this platform.
Let..s follow the political road and we will find both American Black Music of the 60’s as well as the actions of the Situationist movement. But this is not the whole picture. We should add the reckless and rather humorous events syaged by the Fluxus movement as well as a row of disparate "lack of norms”-improvisation movements in Britain, Germany and the States. The whole thing was about dismantling, crushing, and investigating the limits. But also about allowing influences from music seldom heard before.
Jörgen Adolfsson was one of those who already in the beginning of the 70’s was reaching out into musical areas that few knew about, and in his own personal mix, even more so. We should include him among the so called sources for the unlimited improvised music that we have today.
For a long time the structures of the music have been dismantled, investigated, put together again, rejected, and replaced with new elements. The Sturm & Drang of the early Free Jazz movement has passed. Relating to jazz is no longer the most essential, though the music benefits from the best energy of jazz which is present in a strong drive, a percussive way of playing that mixes rhythm with dialogues of rich sounds. Let the horns sail along with hinted melodies in determined, swinging contributions over kaleidoscopic sparkling percussion.
The sound echoes reminiscences from conquests of jazz. The music has a story to tell, but only by implication, without being stuck in the past. But it echoes of - almost like portraits of love, when two of the icons of improvised music are receiving their clear-cut reverences – the trombone and cello player Günter Christmann in Christmann’s Carols and the saxophone player Peter Brötzmann in Wuppertal 2.
There is a story to tell. It’s about a flow, not repetition, not a declaration of love unto death. In the best sense it has an agenda of its own, which gives the music liberty of action within the contemporary context. It is not possible to apprehend it in the same way as thirty years ago. This can be felt as a liberation, a possibility to widen the horizon. This vision can be recognized in No School, when three so different personalities and histories are woven together. The horns are close to the melody, which open up the sound structure in different directions simultaneously. The music is allowing, inviting.
No School tells a story, or more correctly stories. Sometimes they speak, successfully, all at the same time. All chapters put side by side create a kind of road of refinement and conquest of the epithet “free”. One who is knowledgeable in reading and listening can join, bewildered, charmed, disturbed – but never unaffected, because the chapters and the tracks invite us to free interpretation and free listening.
And they seem so full of delight in the music. Finally I’m going to use the word I have so far avoided – Energy.The playing shines with energy!
If it's too far from your home, if you have better things to do, if you're scared to go out...discover
Jack Dupon's video almost live at a private concert...
Oppression
Si c'est trop loin de chez vous, si vous avez mieux a faire, si sortir vous fait peur... Découvrez la vidéo de Jack Dupon presque en live lors d'un concert privé filmé sur Clermont-1ère en octobre 2008...
One of the highlights of the Vortex London Jazz Festival – TIME OUT
Featuring Fyfe Dangerfield (from Guillemots), Gannets posit an alternative jazz history in which 30's swing developed straight into a combined form of the free jazz and fusion movements, without any of the intervening decades.
Fyfe Dangerfield - keyboards + electronics Alex J Ward - clarinet Christopher Cundy - bass clarinet Dominic Lash - double bass Steve Noble - drums
Hi Myspace friends - Just wanted to share this with you - well look who's 'Jazz Musician of the Day'..
www. allaboutjazz. com
Hope you are all very well, Trev
x
........Notre nouveau clip, entièrement fait à la main... PIG MONSTER.
Déjanté, hors normes, expérimental, décalé, théâtral, déglingué.
........Our new music video, entirely handstitched .... PIG MONSTER.
Crazy, non-standard, out of norme, unusual, experimental, out of phase, theatrical, delirious.
Pig Monster
BONNE ANNÉE, GROSSES BISES et VIVE le ROCK...
Föreställ dig att du flyter i en fontän av ljud som plötsligt skjuter iväg dig likt ett bowlingklot på väg mot strike. Så låter New Rose.
New Rose är Niklas Korssell och Gustav Nygren. De har skulpterat ljud tillsammans sedan tvåårsåldern. Deras pappa är Peter Brötzmann, deras mamma Patti Smith. New Rose är ett rockband. Framtiden blir historia första gången du upplever New Rose.
Niklas Korssell - Trummor Gustav Nygren - Gitarr, Sång
"The best band I ever heard" – SONNY SHARROCK
Premiär på Restaurang Landet, Telefonplan, 10 oktober 2008 19.30-01.00.
